Month: January 2018

RSC | Hamlet

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Ham 2

Opening Night Verdict ⭐️⭐️⭐️⭐️⭐️

From it’s opening scenes showing Hamlet receiving his degree at Wittenberg University, it’s clear that the RSC are offering something very different, director Simon Godwin has painted this version of Hamlet with glorious technicolour and focuses firmly on a Prince who feels displaced, an outcast amongst his own people.

Making history back in 2016 when Paapa Essiedu became the first black actor to play Hamlet at the RSC he is undoubtedly the heart of this production with director Simon Godwin very much shaping it around him. Essiedu is of Ghanaian descent which has been used to influence the piece and shifted the coordinates offering a rich and absorbing West African flavour. Ripped away from his overseas education due to the death of his Father, Hamlet is struggling not only with his grief but also with a feeling of dislocation from his people as well as a confusion at the swiftness in which his mother has remarried. Seeing the haunting ghost of his dead father impacts him enormously, from here he begins a powerful psychological unravelling as he bids to seek revenge upon his uncle Claudius who murdered his father before stealing not only the throne but also Hamlet’s own mother for his wife. In Hamlet’s bid to expose the truth, lives and loves are lost as almighty tragedies unfold.

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Essiedu is a revelation as Hamlet, sardonic and unpredictable, charismatic and incredibly witty; he devours Shakespeare’s words and delivers them as if they were his own. His commanding presence fills the Lowry’s expansive Lyric theatre entirely, this riveting and contemporary Prince of Denmark is playful and beguiling with a unsettling element of danger that’s fascinating to watch. He questions, dissects, flips the expected on it’s head and offers an entirely new Hamlet.

This critically-acclaimed RSC production feels incredibly fresh, unlike any Hamlet I’ve seen before. The cultural richness and sheer brilliance of the ensemble brings an entirely new spin on this Shakespeare classic while playful, exuberant choreography casts light on the shade on Shakespeare’s most famous tragedy. While there is intensity there is also great humour with sharp performances from gossipy chief counsellor to the King, Polonius (Joseph Mydell) and matter of fact, take-each-day-as-it comes Gravedigger, Ewart James Walters. Mimi Ndiweni makes for a heartbreakingly tragic Ophelia partnered beautifully with a touching and honest performance from brother Laertes (Buom Tihngang).

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The vibrancy of designer Paul Wills staging breathes further life into this ground-breaking production, the staging reflecting the state of Hamlets grieving and maddening mind. Lighting designer Paul Anderson succeeds magnificently, from the hauntingly atmospheric to the blisteringly bold every scene lit to perfection and recreated for this tour by Matt Peel.

Part tragedy, park dark comedy Hamlet is a drum-thumping, high-energy, intoxicating triumph of theatre. The contemporary twist, perfectly paced & honest performances ensure the RSC succeed in delivering Shakespeare in an accessible and wholly captivating way. Paapa Essiedu captures not only the heart and soul of the character but makes the text seem new and original. I struggled to find any fault in this daring & dynamic production which will stay with me for some time. Inspired and inspiring theatre at its finest.

On at The Lowry until Saturday 3rd February tickets available here.

The Play That Goes Wrong

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Opening Night verdict ⭐️⭐️⭐️⭐️1/2

Reviewed by Matt Forrest

We’ve all had one of those days where nothing seems to go right for you: be it losing your car keys or locking yourself out of the house, or even that accidental fall when walking down a busy a street. You may want to go back to bed but soldier on you must. Well imagine your worst day multiply it by 100 add 50 and you’re not even close to the nightmare faced by the cast of The Play That Goes Wrong Now in its sixth year this Tony award winner sees the plucky but flawed local am-dram group ‘The Cornley Polytechnic Drama Society’ stage a classic ‘Cluedo’ style murder mystery. The production of Murder at Haversham Manor doesn’t get off to a great start with a missing dog, Duran Duran CD, and a faulty shelf hampering proceedings, and all this before the play even gets started!

Chris Bean (Jake Curran) the stressed director/head of the drama society, and lead role of inspector Carter welcome us to shows and informs us of some of the societies less successful endeavours, it provides the perfect set up for what promises to be a highly entertaining evening. Along the way we are introduced to the various society players which include Max Bennett, who plays Cecil Haversham, (Bobby Hirston) a first time performer milking his role for all it’s worth, Sandra Wilkinson as Florence Colleymoore (Elena Valentine) somewhat over egging her part in a desperate bid to steal the show, and Dennis Tyde as Perkins (Benjamin McMahon) clearly nervous and not very good at learning his lines. In addition they are supported by the technical crew of Trevor (Gabriel Paul) and Annie (Catherine Dryden) who try to fight the flames of disaster (quite literally) and with bigger roles then either would have envisaged. As the action continues we see the play go from one hilarious catastrophe to another, taking a mental and physical toll on all the cast and crew, just thankful it’s over and that they survived.

This is comedic theatre at it’s finest; director Mark Bell has crafted a night of pure unadulterated fun that I could watch over and over again. The cast work their socks off, with an endless barrage of slapstick and physical comedy very much in the tradition of Laurel and Hardy, or Buster Keaton, all of the cast do exceptionally well but the stand out performance goes to Kazeem Tosin Amore, as Robert and Thomas Colleymoore, whose performance at one point had audience members howling with laughter with a little a hint of fear for the actors safety. In addition Steven Rostance as Jonathan and Charles Haversham who plays the least convincing dead body you are likely to see.

The writing of Henry Lewis, Jonathan Sayer, and Henry Shields is bang on point firmly taking a swipe at the pompous nature of the theatre, there are moments when the action is so cringe worthy that you just want the play to stop so the cast can be put out of the misery, which is of course exactly the point of it all.

My only complaint (and this is being picky) is that show’s finale is a little over chaotic and needs to be reined in slightly as there genuinely is so much going that you become lost in the chaos so that the grand finale loses a little something, it may be hard to believe but less certainly could be more in this case.

Overall this fantastically fun night at the theatre that will leave you grinning from ear-to-ear with aching sides to boot. Be warned though if you are a vegan or vegetarian you may see more HAM then you could ever have thought possible!

They Play That Goes Wrong is on at the StoryHouse Chester till February 3rd tickets available here.

Interview | Sam Brady

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Edinburgh Fringe regular, comedian and story-maker Sam Brady brings his new show about the effect a life changing diagnosis has upon male relationships within a family to the Lowry this week.

Created as part of the Lowry’s ‘Developed With’ programme Things I Say When I Don’t Say I love You is a warm, witty and uplifting one man play about three generations within one family, granddad, father and son and the effect Alzheimer’s has upon their relationships. Sam explains that “Although the men talk a lot they don’t really communicate, Granddad Tommy, the alpha male of the family is diagnosed with dementia which completely alters the dynamic within the family as he has to get used to not always being the strong one and maybe now being looked after while Scott the 20 year old is trying to establish himself as an independent adult and Ian, the father, is trying to learn how to let his son go whilst also becoming a parent now to his own Dad. It’s about male ego’s, relationships, three people who love each other very much but also drive each other nuts and really aren’t very good at communicating their emotions.”

A real focus and driving force within Sam’s work is looking at how families cope in a crisis, when something comes along that completely changes things, how do families adapt to that change and how does this affect their relationships? While dementia is the catalyst for the play, it’s a piece that addresses how individuals deal with loss and change. While there is a lot of sadness surrounding dementia Sam found through his research that families shared a lot of humour and also found that people in the face of tragedy and change discover what’s important to them, “Crisis and loss often gives people almost a permission and an opportunity to say things that they’ve never been able to say before. While there may be loss and upset involved there is also opportunity to strengthen relationships. While researching for the play and specifically dementia it was described to me that we have our emotions and also our cognitive function and it’s the cognitive function that goes but your emotions are still there, so people may say ‘what’s the point in going to visit someone if they don’t even know you’re there’ although they may not know who you are emotionally they still know that they love you and they feel that and feel good because they’ve been in the presence of someone they love, this is something we’ve built into the play.”

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The importance of humour in helping people get through life’s challenges is something Sam feels strongly about after experiencing his own difficult times and personal loss, “The way people get through these times is often by laughing, it’s so important to have that light and shade, in my research for this play, meeting with families and people living with dementia we’ve had such a lot of laughs, the spirit and humour of the people I spoke to was incredible, people who know they’re facing a terminal illness, who are scared about what they might lose, scared they might forget their children, it’s genuinely terrifying but at the same time their ability to laugh at themselves and their situation is what gets them through, facing tragedy and still being able to laugh is so incredible, in the play I aim to reflect this, so while here are some sad moments it is also very warm, uplifting and also very humorous.”

The theme of kindness is something that runs through former Buddhist monk Sam’s work, his one-man stand up storytelling show Kindness toured successfully and after the Lowry expressed an interest in putting it on in the studio, Sam saw this as an opportunity to create a piece of theatre, arrangements were made and Sam created a double bill in which in the first half he delivered his show then in the second half delivered a work in progress of the story he was developing, “It got a really good response so on the back of that I was asked to joined the Developed With programme, it’s been absolutely amazing. I’ve watched so much great theatre in preparation for my show, I’ve learnt so much, I’ve been taking acting lessons, I’ve worked with a writing mentor to ensure I really bring out the best in me. It’s been the most fantastic opportunity.”

Audiences can see Things I Say When I Don’t Say I Love You at the Lowry on Thursday 1st and Friday 2nd February with 5 rural dates booked in in Cheshire and Lancashire and a full autumn tour also in the pipeline.

Further information and tickets can be found here.

 

 

 

 

 

The Toyboy Diaries

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The ToyBoy Diaries at Hope Mill Theatre. Credit Anthony Robling 2

Opening Night Verdict ⭐️⭐️⭐️⭐️

As part of their pledge to champion new musical theatre, the award-winning pairing of Aria Entertainment and Hope Mill Theatre deliver their first offering of 2018 in the form of The Toyboy Diaries, a new British Musical based on the best-selling memoirs of Wendy Salisbury.

Directed by Tania Azevedo with music & lyrics by Andy Collyer, The Toyboy Diaries is an sharp, fresh & outrageously funny musical. Twice-divorced Lily (Johanne Murdock) has reached a point in life where she yearns for adventure, her children have flown the nest, she’s been jilted by a younger lover and at forty something she’s entirely done with the mundane. So with the hilarious encouragement of friend and neighbour Penny (Nicola Blackman) Lily sets about placing a personal ad & is soon reaping the rewards and in some cases dodging the bullets of her broadsheet biog.

The ToyBoy Diaries at Hope MIll. Credit Anthony Robling 1

Spanning the chapters of her life over approximately 15 years between her early 40s and 50s we live out an animated & hugely entertaining series of sexual encounters as seen through Lily’s eyes, some shockingly funny, some seriously sexy and some downright dirty but all with one thing in common, our sassy heroine is loving and living life to the full.

While there are many tongue in cheek moments, the writing ensures while we laugh with Lily we also care deeply for her, she is a woman of a certain age who proves there’s no shame in seeking out new experiences and taking life by the balls (quite literally). Johanne Murdock is an absolute joy as Lily, strong, self-assured and utterly fearless she shines in the role and captivates entirely. Present on stage for the entirety of the production her energy and enthusiasm is infectious.

Sidekick to Lily is loyal friend and neighbour Penny played brilliantly by Nicola Blackman. Always on hand to offer advice, even if it’s not wanted, and quick with the witty one-liners, Penny goes on her own journey of self and indeed sex discovery.

Matt Beveridge, Sharif Afifi and Alistair Higgins take on the roles of the multiple and varied toyboys, all are exceptional, hugely versatile with great characterisation and impressive comedic performances they each give their all in this production, morphing into various lovers with ease and believability. Incredibly hardworking in addition to playing various lovers they pop up mid scene to cha cha and harmonise around Lily and Penny almost like a glorious Toyboy Greek chorus adding a little flamboyance to each scene.

The ToyBoy Diaries at Hope Mill Theatre 2. Credit Anthony Robling 3

Composer Andy Collyer has gifted the production with an immensely expressive and poetic score which has a beautiful Sondheim feel about it. The cast deliver the lyrics with heart and precision, accompanied by musical director Andrew Griffiths talented band. Designer Jason Denvir has transformed the intimate space at Hope Mill with his innovative and multi-functional set, allowing characters to move from scene to scene with ease.

The Toyboy Diaries is not Shakespere, nor is it trying to be, it’s a great fun night out and unquestionably wonderful to see a woman of a certain age showed in such a self-assured and refreshing way. I felt myself grinning from ear to ear the whole way through. The show paints women in a wonderfully strong and empowering light. Lily knows what she wants and is not afraid to go and grab it, as the character says herself her legs might be in the air but her feet are firmly on the ground. It feels liberating to see such a strong female lead unashamedly celebrating who she is and what she stands for. A perfect tonic to beat the January blues.

On at Hope Mill Theatre until Saturday 10th February its sexy, sassy & will undoubtedly convince you to seize the day! Tickets available here.

The Weir

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Weir

Opening Night verdict ⭐️⭐️⭐️⭐️

English Touring Theatre and Mercury Theatre Colchester’s revival of Conor McPherson’s Olivier award-winning play The Weir arrives at the Lowry’s Quays theatre this week, proving it is as fresh and as engaging as it was when it took the west-end by storm back in 1997.

Set in a rural in a rural Irish pub, vastly unvisited out of tourist season apart from by its entirely male regulars, conversations are familiar amongst Brendan (Sam O’Mahony) the happy-go-lucky landlord and middle aged locals cantankerous Jack (Sean Murray) and mild mannered Jim (John O’Dowd), both bachelors with their own crosses to bear. Tonight however something is different, Finbar (Louis Dempsey) the local fella turned successful businessman has been seen with a woman, not only has he been seen with a woman but he has been bold enough to bring her to the pub, and him a married man and all, changing the landscape of the status quo from the minute she arrives.

Weir 3 The Weir is a play based entirely round the art of storytelling in which writer Conor McPherson delivers the loneliness of small-town life in Ireland for his isolated characters with humanity and heart. Past and present intertwine as stories are shared and the ghosts of times gone by are reimagined and redelivered. Links to folklore litter the narratives as incidents and goings on become more peculiar and harder to explain, lives woven together by circumstance bonded over many years through the sharing of tales and the comfort of company now have a new source of narrative in the intriguing and attractive out of towner, Valerie (Natalie Radmall-Quirke).

The regaling of stories to entertain their visitor ultimately exposes their anxieties and loneliness, when finally it’s Valerie’s turn to share her chilling tale, unexpected and deeply powerful, the truth she calmly reveals bonds her to the group, comrades now in their complexities.

Weir 2 At approximately 90 minutes straight through The Weir captivates entirely, each actor on stage delivering a compelling and gripping performance, from the deadpan put downs to the infectious Irish charm. Director Adele Thomas is happily includes awkward silences, a taste of the daily norm in The Weir. While there is great poignancy there is also great wit in McPherson’s script, presented with impressive skill by this incredibly strong cast.

Just as important as the storytelling is the listening, director Adele Thomas ensures that each storyteller is the focus of their moment with fellow cast members their audience, perfectly placed around Madeline Girling’s set, while Lee Curran’s lighting design further adds depth, atmosphere and weight to each tale.

The Weir is a cleverly constructed and entirely compelling piece of theatre, goosebump chilling in parts with laugh out loud moments of deliciously sharp humour. Perfectly paced with an excellent cast and exceptional writing which will leave you longing to pull up a chair, grab a Guinness and revel in the delights of the storytellers.

On at The Lowry until Saturday 27th January tickets available here.

Jane Eyre – Octagon Theatre

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Opening Night verdict ⭐️⭐️⭐️⭐️

170 years on from first publication, Janys Chambers and Lorna French’s new adaptation of Charlotte Brontë’s, Jane Eyre proves the story of trailblazer Jane is as inspiring and as captivating as ever.

Telling the story of an orphan girl and baring striking similarities to Brontë’s own life, Jane Eyre is an arresting account of battling through monumental challenges at a time when women were largely seen but not heard. Northerner Jane (Jessica Baglow) is taken in by her Uncle after the tragic death of her parents, much to the disgust of his cruel wife, Jane’s Aunt, Mrs Reed (Claire Hackett). Mrs Reed promises to raise Jane as her own, yet sadly subjects her to a childhood of misery and abuse which both Jane’s aunt and cousins revel in. Aged just 10 she is sent off to Lowood, a boarding school for orphaned girls, where she continues to experience a cruel and enormously unforgiving life at the hands of school tyrant Brocklehurst who delights in mistreating and humiliating his subjects. Despite this intolerable life, Jane makes a great friend in Helen Burns, a fellow pupil, tragedy however lingers close by as Jane suffers more heart-breaking loss.

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Jane eventually becomes a teacher at Lowood but after two years yearns for change and adventure; she advertises herself as a Governess and is summoned to Thornfield Hall where Jane is granted the position and takes on the responsibility of educating Edward Rochester’s (Michael Peavoy) French ward Adele. As we see the developing friendship between Jane and Rochester build strange and unexplained happenings within the hall begin to occur risking both the safety and the future of the entire household.

The small cast take on multiple roles with each and every actor delivering clear and intelligent characterisation; the additional young company shine, particularly Jasmine De Goede and Coco Jones as young Jane and Adele respectively. Staged in the round, director Elizabeth Newman ensures the focus of this piece lies entirely upon the talented cast on stage. Full use is made of designer Amanda Stoodley’s cage like frame and the full height of the Octagon theatre is used to great effect when paired with Chris Davey’s dynamic lighting which creates and changes atmospheres beautifully.

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The production feels bold and inspired as the pace dances swiftly through Jane’s early childhood to adult life. Baglow makes for an enormously charismatic Jane, strong of spirit, intelligent and witty, her search for fulfilment strikingly pure, she remains fiercely true to herself as painful as this may be. Convincing and confident Baglow embodies Jane superbly.

Michael Peavoy plays the brooding Rochester to Baglow’s Jane, he is forceful and intense in his attempts to get to know Jane who greets her masters unique ways with intelligence and smart humour, proving Jane to be an equal to Rochester in mind if not in stature. Peavoy’s ability to switch from deeply intense to light and playful perfectly embodies the complexity of Rochester’s bruised soul. There is an endearing playfulness between the two as their complex relationship grows and develops you find yourself willing for these two damaged hearts to heal each other.

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Leah Walker as the ‘mad woman in the attic’ is creatively delivered, making exceptional use of the Octagon’s intimate space and designer Amanda Stoodley’s innovative staging.

Writers French and Chambers focus more on the humour within the novel in this production than any I’ve seen previously making for an innovative and fresh feel, allowing audiences to see Brontë’s characters perhaps differently than in previous incarnations. The pace is quick and sometimes the emotional depth is brushed over in favour of humour, it is none the less an enormously engaging and entertaining production. The focus feels less on Jane’s need for liberty and adventure and more on her relationships and longing to feel loved. Her search to create her own unique family, something she never had is heart-warming as she bids to prove she is loveable and equal in heart and mind to Rochester when society would deem her beneath him. Jane is a woman of enormous character, who is tested to the point of almost betraying herself entirely but her belief in love and the fierceness of her own integrity saves her. Bolton Octagon once again succeeds in creating engaging, relevant and inspiring theatre.

Jane Eyre on at the Octagon until Saturday 10th February tickets available here.

From Ibiza to the Norfolk Broads

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From Ibiza

Opening Night verdict –

It was, of course, the immortal allure of David Bowie that drew us like a siren’s call to ‘From Ibiza to the Norfolk Broads’… an irresistible opportunity to hear his music; to listen to his voice (albeit brilliantly mimicked by comedian Rob Newman); to see his otherworldly face projected front and centre stage…

So, inhabiting protagonist Martin’s world – where Bowie shines perpetually like an ephemeral ‘Diamond Dog’ – takes no leap of the imagination at all. We first encounter him aged seventeen, and he is a broken bird of a boy: gripped by an eating disorder, he is prone to occasional self-harm and leads a reclusive, dead-end existence with his alcoholic mother.

Martin’s father left the family home when he was two years old, so when he stumbles across his estranged patriarch’s treasured collection of Bowie albums and memorabilia, an obsession is born.

On the morning of Martin’s eighteenth birthday, he is gifted an envelope; left to him by his erstwhile father, it contains a map of London that treads in Bowie’s footsteps.

Galvanised by the hope that it may ultimately lead to his father’s whereabouts, Martin scrapes together enough money to head to the capital – beginning his quest outside the wrought-iron gates of Stockwell Infants School, where David Robert Jones was the small boy with anisocoria eyes and a huge future…

First thing’s first, this is a ‘one-man show’ in the truest sense – a tour de force solo performance by the impressive Alex Walton [After the Blue, ISM, London Calling, Macbeth], who is seemingly inhabited by a cast of thousands. You see him morph from all-knowing narrator to angst-ridden teenager to wizened record store owner within seconds. Each character is as fully formed and believable as the last – leaving you with the impression of having been entertained by a whole company, rather than a single performer.

Walton’s emotional range is vast – taking him from an overexcited karaoke performer in a rough pub to the victim of an all-too-real panic attack in a greasy kebab house within minutes. (Anyone who has experienced crippling fear and breathlessness when anxiety strikes could find this a particularly triggering scene, although credit must be paid to him for a startlingly accurate portrayal.)

Curiously, although Bowie’s spectre engulfs the production from start to finish, anyone expecting a musical of smash hits is going to be sorely disappointed. His music is purely incidental – utilised to hint at Martin’s mental state, rather than a succession of rousing choruses taken from the hit parade. (Expect to hear snippets from Bowie’s more experimental side of his oeuvre.) Likewise, Set & Costume Designer Andie Scott delivers a pared-back aesthetic, which merely hints at Bowie – providing no more than window dressing to Walton’s considerable talent.

Writer & Director Adrian Berry (Artistic Director of Jacksons Lane Theatre in London) is to be especially praised for delivering a truly innovative narrative and production that is heart-breaking and humorous in equal measure, as well as avoiding all temptation to conclude with a definitive ending. Part of the great joy of this experience is walking away from the theatre and ruminating over what the final scenes mean for Martin, his father and the Thin White Duke himself.

Hugely acclaimed at last year’s Edinburgh Fringe – playing to sell-out audiences – the show is currently on tour nationally, with concluding performances at Jacksons Lane Theatre (6-10 March 2018). For tickets, click here.

Reviewed by Michelle Ewen

MTA Nominations 2018

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Nominations for this year’s Manchester Theatre Awards have been announced, celebrating the best work on stage and off within the city in over 20 categories, with winners being announced at a red carpet event at the Lowry theatre on Friday 9th March which will be hosted by local funny man Justin Moorhouse.

With some interesting choices and some considerable omissions, our personal pick and who Opening Night will be backing when we head to the ceremony will be;

Performance in a Fringe Production – Amie Giselle-Ward, Little Women – The Musical,

Best NewcomerHope Mill Theatre, Scott Hunter, Yank!, Hope Mill Theatre,

Best Opera La Cenerentola , Opera North, The Lowry,

Studio Production – From Ibiza to the Norfolk Broads, The Lowry

Best Performance in a Studio Production – Alex Walton, From Ibiza to the Norfolk Broads, The Lowry

Target Live Award for Best Visiting Production The Lowry, La Strada, The Lowry

With four incredible selections for Best Musical it will be a hotly contested category, we adored each production but would loved to have seen additional nominations for Hope Mill Theatre’s spectacular Pippin and Tim Firth and Gary Barlow’s uplifting audience favourite The Band.

 

The nominations are as follows;

Actress in a Leading Role

Karen Henthorn, Spring and Port Wine, Oldham Coliseum

Lisa Dwyer Hogg, People, Places & Things, HOME

Nina Hoss, Returning to Reims, Manchester International Festival

Janet Suzman, Rose, HOME

 

Actor in a Leading Role

Cliff Burnett, Hard Times, Oldham Coliseum

Jason Merrells, Uncle Vanya, HOME

Kenneth Alan Taylor, The Father, Oldham Coliseum

Ashley Zhangazha, Guys And Dolls, Royal Exchange

 

Actress in a Supporting Role

Alison Halstead, The House of Bernarda Alba, Royal Exchange

Kate Kennedy, Twelfth Night, Royal Exchange

Kerry Peers, The Father, Oldham Coliseum

Katie West, Uncle Vanya, HOME

 

Actor in a Supporting Role

Tom Michael Blyth, Hard Times, Oldham Coliseum

David Fleeshman, Uncle Vanya, HOME

Andrew Sheridan, People, Places & Things, HOME

 

Actress in a Visiting Production

Ria Jones, Sunset Boulevard, Palace Theatre

Laura Pitt-Pulford, Nell Gwynn, The Lowry

Natalie Radmall-Quirke, The Weir, Oldham Coliseum

Sheridan Smith, Funny Girl, Palace Theatre

 

Actor in a Visiting Production

Danny Mac, Sunset Boulevard, Palace Theatre

Graham McDuff, Thoroughly Modern Millie, Palace Theatre

Sean Murray, The Weir, Oldham Coliseum

 

Ensemble

Oh What A Lovely War, Oldham Coliseum

Operation Black Antler, HOME

The Suppliant Women, Royal Exchange

 

Performance in a Fringe Production

Rosie Fleeshman, Narcissist in the Mirror, Greater Manchester Fringe

Amie Giselle-Ward, Little Women – The Musical, Hope Mill Theatre

Alexandra Maxwell, The Loves of Others / Freak, Greater Manchester Fringe

Danny Solomon, Days Of Wine And Roses, 53TWO

 

Performance in a Studio Production

Rhodri Meilir How My Light Is Spent, Royal Exchange

Lucy Jane Parkinson, Joan, Contact

Keisha Thompson, Man On The Moon, Contact

Alex Walton, From Ibiza to the Norfolk Broads, The Lowry

 

Robert Robson Award for Dance

Debut, Acosta Danza, The Lowry

English National Ballet double bill, Palace Theatre

Ghost Dances, Rambert Dance, The Lowry

Leviathan, James Wilton Dance, Contact

 

Design

Jenny Melville (set) and Lysander Ashton (video), Paul Auster’s City of Glass, HOME

Bunny Christie, People, Places & Things, HOME

Alex Lowde, Persuasion, Royal Exchange

Yael Bartana, What If Women Ruled the World?, Manchester International Festival

 

Fringe Production

Bad Advice, Greater Manchester Fringe

Gypsy Queen, Hope Mill Theatre

The Marriage of Kim K, Greater Manchester Fringe

Moth, Hope Mill Theatre

 

Musical

Funny Girl, Palace Theatre

Jim Steinman’s Bat out of Hell the Musical, Opera House

Sunset Boulevard, Palace Theatre

Yank!, Hope Mill Theatre

 

New Play

Gypsy Queen, writer Rob Ward, Hope Mill Theatre

How My Light Is Spent, writer Alan Harris, Royal Exchange

Narcissist in the Mirror, writer Rosie Fleeshman, Greater Manchester Fringe

Narvik, writer Lizzie Nunnery, HOME

 

Newcomer

Gemma Dobson, Rita, Sue and Bob Too, Octagon Theatre Bolton

Scott Hunter, Yank!, Hope Mill Theatre

Vinay Lad, The Railway Children, The Lowry

 

Opera

Cendrillon, Royal Northern College of Music, RNCM

La Cenerentola, Opera North, The Lowry

Opera North Little Greats, Opera North, The Lowry

The Snow Maiden, Opera North, The Lowry

 

Production

The Father, Oldham Coliseum

People, Places & Things, HOME

Rose, HOME

The Suppliant Women, Royal Exchange

 

Special Entertainment

Dick Whittington, Opera House

Running Wild, The Lowry

The Toad Knew, The Lowry

Under Glass, Clod Ensemble,The Lowry

 

Studio Production

From Ibiza to the Norfolk Broads, The Lowry

Joan, Contact

Man On The Moon, Contact

Swansong, The Lowry

 

Target Live Award for Best Visiting Production

La Strada, The Lowry

My Country; a Work in Progress, HOME

Nell Gwynn, The Lowry

The Weir, Oldham Coliseum

 

Youth Panel Award

There is a Light/BRIGHTLIGHT, Contact Young Company

Singin’ in the Rain, RNCM Young Company

Tis Written in the Stars, Oldham Theatre Workshop, Oldham Coliseum

Shrek the Musical

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Shrek 1

Opening Night verdict ⭐️⭐️⭐️⭐️

Larger than life and visually stunning, Shrek the Musical arrived at Manchester’s Palace theatre this week for a two week stop as part of a new UK and Ireland tour. Based on William Steig’s children’s book and the Oscar-winning DreamWorks film, Shrek (Steffan Harri) is the story of one seriously green ogre who falls in love with the beautiful Princess Fiona (Laura Main), sadly leaving the safety of the swamp is no fairytale and our Herculean hero soon finds himself battling a fire-breathing dragon to rescue Princess Fiona from her prison tower in order to deliver her to a very vertically challenged Lord Farquaad (Samuel Holmes) in return for his swamp back.

Steffan Harri is exceptional as Shrek, loveable and enormously charismatic he has the audience in the palm of his hand from his very first fart! His accent is superb and authentic, accompanied by a strong singing voice to match up to his enormous personality.

Tour director Nigel Harman has focussed on ensuring individual performers really get their chance to shine in this current incarnation, no more so than Shrek’s loyal steed Donkey, portrayed to perfection by Marcus Ayton. A little underused in previous productions his great one-liners, exaggerated expressions and hilarious bray ensure this Donkey has some serious stage presence, without doubt the best portrayal of Donkey I’ve seen.

Samuel Holmes makes for a delightfully devilish Lord Farquaad, outrageously camp & completely hysterical he shines in the role and thrills the audience. He makes the challenging part, delivered almost entirely on his knees, look effortless as he struts around the stage full of sass & swagger.

Call The Midwife’s Laura Main as Princess Fiona is on fine form, the chemistry between her & Steffan Harri (Shrek) heartwarming to watch, their duet ‘I think I got you beat’ is a real highlight of the show which has the audience crying with laughter.

Tim Hatley’s set, costume and puppet design are top class, the constantly changing set, boosted by Duncan McLean’s projections is bold and striking, as are the incredibly intricate costumes and as for the dragon, well you’ll just have to watch and see.

There are some slight changes from previous productions with Act 1 feeling a little slower in pace in parts, Act 2 however quickly picks things up & its full steam ahead until the finale. The introduction of puppets to the song ‘I know it’s today’ didn’t quite work and changed the delivery of the number entirely. The show benefits from an incredibly talented ensemble taking on various parts including the fairytale characters, Lord Farquaad’s guards & the residents of Duloc, Shrek the musical proves there’s an enormous amount of love for the smelly green ogre and his uplifting tale. The score doesn’t have any ear worms you’ll be humming much after you’ve left the show but the hilarious script & spectacular visuals will leave you charmed. Not only does it poke fun at the classic fairy tales we all know and love but there’s some brilliant musical theatre parodies dotted throughout.

Shrek is an enormously fun production, with a cheeky humour that casts its magic on all ages. The traditional is turned upside down as this all-singing, all-dancing extravaganza delivers a special message right from its giant green heart, that we’re all special & we should fly those freak flags high & proud, a perfect introduction to musical theatre.

Shrek the Musical is on at the Palace theatre until Sunday 28th January tickets available here.

Interview | Brendan Cole

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Brendan Cole’s spectacular production, All Night Long, returns to the stage this week after a hugely successful and critically acclaimed run in 2017. Manchester audiences can catch the Strictly favourite at the Bridgewater Hall on Friday 19th January as part of an extensive UK and Ireland tour. Created by Brendan himself the show takes audiences on a journey through all genres of dance and music including an impressive 13 –piece band and singers as well as a sensational cast of talented championship dancers. We caught up with Brendan ahead of the show’s arrival in Manchester to hear a little more about this critically acclaimed show.

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ON: What can audiences expect from the show?

BC: I really like to think we offer audiences a bit of everything, obviously it’s a Strictly type show but it’s very much got my name on it, it’s not put on by a production company, it’s my creativity that’s put the show together. It has everything that you’d want from Strictly and more, we have a live band, 13 incredible musicians on stage, they really are phenomenal, they cover Michael Bublé, Tom Jones, that kind of calibre of musician, they really are the best, which adds an extra element to the show, it could even be a musical show on its own without the dancing, but of course audiences have come to see that dancing and that is what they’re gonna get.

ON: In terms of dance, what can audiences expect to see a mixture of Latin and Ballroom?

BC: Everything you know from Strictly we do on a stage, with a bit extra, whether it be a waltz, a cha cha, an Argentine tango, a foxtrot, a jive, a samba, we cover every element of dance and we try to cover all genres of music too, from old to new because the Strictly audience is very diverse, they really are all ages and it’s very important to me that we have a complete show, My name is on the door so I want us to be delivering something that people love then hopefully we can offer a phenomenal nights entertainment.

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ON: How does performing on stage differ to appearing on Strictly?

BC: With the magic of television they can change camera angles, there are floor effects, ceiling effects so that magic that’s created in the studio is not just about the dance but on a stage show you are there for all to see, so with that the audience truly gets to see everything, not just a zoomed in section, but every step the dancers take, the emotion, the beauty of the numbers, the magic of the dance takes centre stage. For example the waltz that we do, normally a waltz is the story of a romance, a love story where a couple meet, then fall in love and live happily ever after, the waltz that we do we use a Michael Bublé song called ‘At this moment’ and it’s the story of an affair, so it’s very different but really powerful theatre, I love it as you see the audience transform as the story of our waltz unfolds, waltz is my favourite dance anyway so to be able to perform that dance and get a really genuine reaction from the audience is brilliant. Then one number later we do a really passionate Argentine Tango which is just wow and really full on then we might next be doing something really soft, romantic and beautiful, it’s chopping and changing to make sure audiences don’t feel like they’re seeing the same thing over and over again, every number is different, the cast are phenomenal, all the elements, the music, the lighting, the staging, the costumes, the talent, everything comes together in a two hour spectacular of what people love seeing in their living rooms but they get to see it live on stage.

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ON: How do audiences differ from city to city?

BC: It’s really interesting and varies massively, if an audience is quiet it can be quite soul destroying, I’ve performed for audiences who while they appreciate what you do just sit quietly and take it in, so you can start questioning what you’re doing. I’d definitely say the further North you go the bigger the reaction, Southern audiences tend to be more reserved, which of course is absolutely fine but it can be tough to gage how much they are enjoying the show, you can think you’re dying a death on stage then after the show there can be 50,60, 80 people outside stage door telling you how phenomenal they thought the show was, it’s a really funny thing then other times you can go out on stage and before you’ve taken a step or played a note and the audience go crazy, that’s what we do this for, it’s all for the audience, we want people to walk away very, very happy having had a really great night, that’s the main thing.

ON: Are there additional pressures to performing live?

BC: When the curtain goes up you have got to be ready to perform, whether you’ve been locked out of the building, haven’t done your hair, it doesn’t matter you have to be ready. Once we had terrible storms and couldn’t travel across the Dartford bridge in London, so myself, lots of the dancers and musicians couldn’t get to the venue, my sat nav took me on a horrendous route and I finally got to the show 8 minutes before the start of the matinee, but I walked on that stage and it’s like bang, you hit the ground running, the audience doesn’t need to know the problems you might have had, it’s live and anything can happen at any time, you have to deliver and I think that’s what makes it exciting.

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ON: We’ve heard you play the guitar on stage, is this talent you’ve always had or a new skill?

BC: It’s a new thing, our musicians are world class, they really are something special, just awe inspiring, we’ve talked over the years about how I wished I’d gone to music school and learnt more about music, I’ve always wanted to be able to pick up a guitar and just be able to play, so they suggested for this new tour they put together a musical number where I play the guitar so I thought brilliant, challenge accepted, I’m not planning on taking over from any musical legends but it’s one of those things where I’ve accepted the challenge and I’m just enjoying it, it’s a lovely Ed Sheeran song. To sit and play amidst that talent while my dancers come out and perform a contemporary rumba is really special and just something I really love doing. Plus for the audience they’re used to watching celebrities out of their comfort zone on Strictly, this was a chance for them to see me slightly more vulnerable and see something different from me, a different element to the show which is so important to me, that the show changes every few minutes, which hopefully keeps the audiences excited.

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ON: We’ve spoken to your former colleague Joanne Clifton who is currently touring with Flashdance is this something you’d be interested in doing in the future?

Yes eventually when the dancing shoes are hung up because it’s quite hard to fit in anything like that when you’re involved with Strictly plus I have my own production now. I have been offered a big role in the West End previously about 4 years ago but I couldn’t accept as it was a touring show before it went to the West End so my commitments wouldn’t allow for that as well, I was gutted to have to turn it down as it would have been a great opportunity for someone like me who isn’t necessarily an actor but who can act, and I can sing so it was one of those things that I had to say no thank you but it’s definitely something I’d look forward to in the future.

ON: Finally and we’re sure you get asked this a lot, who would be your dream Strictly partner?

BC: Ooh I’ve had them haven’t I? The honest answer is I’ve had some great partners over the years, I’ve been very lucky but there’s one person who I’d love to dance with, not necessarily on Strictly as I think that would be tricky to get her to commit, Her Majesty the Queen, I’d absolutely love to give her a Waltz lesson, just to dance a beautiful Waltz with her, I’m sure she’s been shown before but that would be an absolute dream for me, that’s definitely on my bucket list.

Further information, tour dates and tickets can be found here. 

The Band head to The Lowry!

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The Band Q

Due to overwhelming public demand, Tim Firth’s smash-hit new musical, The Band, featuring the music of Take That, will return to the North West with a stop at The Lowry from Wednesday 16th until Saturday 26th January 2018.

The show which we gave a well-deserved five stars. is produced by David Pugh & Dafydd Rogers and Gary Barlow, Howard Donald, Mark Owen, Robbie Williams takes audiences us back to 1992 when for five 16 year old friends The Band is their absolute everything, they live, breathe, eat & sleep the music. Fast forward 25 years and life is somewhat different for our ladies as they attempt one last time to meet their teenage crushes. The winning of concert tickets to Prague soon becomes a journey of self-discover as they not only attempt to reconnect with each other but remember and realise the hopes and dreams of their 16 year old selves.

With superb direction from Kim Gavin and Jack Ryder, The Band has quickly become the fastest selling touring musical of all time as the show continues to delight audiences across the country.

Ticket information can be found here.

First look – The Toy Boy Diaries

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TB Matt Beveridge and Johanne Murdock in rehearsals for The ToyBoy Diaries 2 credit Claire Bilyard

Highly anticipated new British musical comedy, The Toyboy Diaries which runs from Thursday 18th January to Saturday 10th February at Hope Mill Theatre, offers a first look at the production today with these newly released images from the rehearsal rooms.

Charting the hilarious and sometimes heart-breaking ups and downs of mid-life dating, The Toyboy Diaries is the first of 2018’s five in-house musicals from the hugely successful collaboration between Joseph Houston and William Whelton, co-founders of Hope Mill Theatre and producer Katy Lipson, of Aria Entertainment.

TB Sharif Afifi and Johanne Murdock in rehearsals for The ToyBoy Diaries credit Claire Bilyard

The production, which is adapted from the best-selling memoirs by Wendy Salisbury follows twice-divorced Lily as she inadvertently finds herself under a much younger man, which then opens the door to a whole new world of inappropriate relationships.

The lead role of Lily will be played by Johanne Murdock who was recently seen as Brutus in Julius Caesar and Lady Macbeth in Macbeth (Guildford Shakespeare Company). The production also features Olivier Award-nominee Nicola Blackman (Destiny Rides Again, Babe the Sheep Pig, Gilgamesh and Just to Get Married) as Lily’s best friend Penny.

TB Matt Beveridge and Johanne Murdock in rehearsals for The ToyBoy Diaries 1 credit Claire Bilyard

Matt Beveridge (The Frontier Trilogy, Titanic – Toronto and House of Therapy – Off Broadway). Sharif Afifi (Mamma Mia: Here We Go Again, Wonderland – UK Tour) will play ToyBoy 2, while Alistair Higgins (Dreamboats and Petticoats – UK Tour, Sweeney Todd – Brighton, Charlotte’s Web) plays ToyBoy 3.

TB Johanne Murdock in rehearsals for The ToyBoy Diaries credit Claire Bilyard

The Toyboy Diaries will be directed by Tania Azevedo, with a book by Simon Warne, music and lyrics by Andy Collyer.

Tickets are available here.